Firebacks

Description: Arched rectangular central panel with bead edging; standing female figure, classically dressed, holding a child in her arms, another child holding a wreath, seated to her left, and a putto standing to her right; arched rectangular border with fillet edging; mask top centre with descending floral bunches on ribbons, with a cartouche centre bottom; on top, two symmetrical descending serpents.

Notes: The figure represents Charity, one of a several iconic figures portrayed on firebacks of this period.

Copies of this fireback are known.

Description: Arched rectangular central panel with bead edging terminating at the top in two loops, gather drapery and a scallop shell; two figures to the right, both bearded, the one kneeling wears cavalry armour, a cloak and a crown, the other stands behind; to the left is a sacrificial pyre on which an ox carcass burns, and above an angel carrying a sword in his right hand and a skull in his left; around this is an arched rectangular border with fillet edging and a repeated leaf pattern; on top is a scallop shell between two dolphins.

Notes: The scene illustrates the visitation of the pestilence on Israel described in 2 Samuel 24, and the sacrifice of an oxen by King David; the skull borne by the angel represents the death of those struck down by the plague. A slightly different version has the face of David looking down (no. 527). Formerly part of the J. H. Every collection.

Copies of this fireback are known.

Description: Arched rectangular central panel with bead-and-pellet edging; S-scroll, two-handled, gadrooned vase with tulip stems, flowers and leaves; arched rectangular border with fillet edging and suspended flower bunches; two symmetrical, coiled serpents on top; narrow, curved shouldered side panels with beads in oval depressions.

Notes: This is a shortened version of a much-copied fireback. Normally there is a bottom panel. Formerly part of the J. H. Every collection.

Copies of this fireback are known.

Description: Arched rectangular central panel with bead edging; suspended from the top, by a ribbon, a ring with a popinjay, or parrot, perched thereon, biting a twig in its right claw; below left is a seated child; around this panel is an arched rectangular border with fillet edging containing floral swags hung on ribbons suspended from rings; on top, two serpents.

Notes: A common design among firebacks produced in Germany for the Dutch market. Formerly part of the J. H. Every collection.

Copies of this fireback are known.

Description: Arched rectangular; bead edging; pictorial scene of Venus, naked and kneeling, and Adonis, standing, holding a spear in his left hand, with Cupid to the left, and a hound to the right; pomegranates on top and on each shoulder of the plate, with two symmetrical, descending serpents.

Notes: Probably based on one of two paintings of Venus and Adonis by Peter Paul Rubens.

Copies of this fireback are known.

Description: Arched rectangular shaped central panel with canted, concave top corners and bead edging; figure seated astride a triumph of weaponry (cannon, spears, drums), holding a laurel wreath in his right hand, symmetrical hanging drapery above; same-shaped border with fillet edging and suspended ribbons with floral bunches; at base, symmetrical reeds tied with ribbon; base panel with nine linked rings; symmetrical serpents on top.

Notes: Possibly a depiction of an allegory of Victory. Other firebacks have the same distinctive central panel, border shape and decoration at the bottom, suggesting the same pattern maker. A reduced version (no. 1253) lacks the serpents on top and the reeds at the bottom. Formerly part of the J. H. Every collection.

Description: Arched rectangular central panel with alternate two-bead and pellet edging; table with draped cloth surmounted by a basket containing fruit, swagged drapery above; arched rectangular border with fillet edging; descending vine with leaves and berries; bottom centre, initials separated by a lozenge; on top, symmetrical swirled foliage.

Notes: Typical pastiche of the 'Dutch' style of fireback produced with the option to affix it to a basket grate. The basket of fruit was probably inspired by still-life paintings by European artists of the first half of the 17th century. Formerly part of the J. H. Every collection.

Inscription: I T

Description: Carved wooden fireback pattern. Arched rectangular central panel, astragal and fillet edge, pictorial, Hercules, sword in hand, preparing to slay the Hydra; arched rectangular border, fillet edge, ivy leaves and tendrils, monogram at bottom; swirled foliage on top.

Notes: Unusually for a pattern, it was carved from a single piece of wood; formerly in the custody of William Hobday (d. 1883), last surviving ironworker at Ashburnham furnace, this pattern was given to the Sussex Archaeological Society by the Revd. J. Bickersteth.

Inscription: TAN

Description: Carved wooden fireback pattern. Arched rectangular central panel with astragal and fillet edging; Phaëton riding Apollo’s chariot across the skies, the sun to the left behind clouds, a lion on ground below, between two trees; arched rectangular border with fillet edging; trailing convolvulus leaves surround the central panel.

Notes: The illustration upon which the design has been based has not been identified, save that it figures in book II of Ovid's Metamorphoses. The convolvulus border is a common feature of this series of firebacks; given to the Sussex Archaeological Society by the Rev. J. Bickersteth.

Description: Arched rectangular shaped central panel, bead edging (top and sides), pedestal bearing a supine male figure with headband being trampled by a horse, facing left, mounted by a rider with long hair, facing to the front; on each side of the plinth is a seated figure with a basket of fruit; the inscription is split either side of the horse; arched rectangular shaped border, fillet edging, on each side a Solomonic column with vine decoration; in the arch, symmetrical parallel curved lines intertwined beneath a crown; on top of each shoulder of the plate a female figure in repose.

Notes: The equestrian figure is derived from the statue of Charles II erected in Stocks Market, London, in 1672. Originally to be of Jan Sobieski, later king of Poland, riding down a Tatar, it was altered to represent Charles, and the Tatar’s face was changed to that of Oliver Cromwell; the statue attracted a fair degree of derision. The 'CC' monogram is likely to be for Charles and Catherine (of Braganza). The statue is now at Newby Hall, near Ripon, North Yorkshire. Another version (no. 280) is dated 1674 and has altered initials.

Copies of this fireback are known.

Inscription: CC [interlocked, and the first reversed] R